27 Oct 2021


Top review from United Kingdom ROBERT 1.0 out of 5 stars A terrible misleading CD Set 

'Soul Power '68 CD Set (two CD's) is very, very misleading and is NOT SOUL MUSIC at all. This CD set is very much like funk, jazz and it has a lot of awful reggae on it that I can't stand. I've now given it away. If you're expecting the normal Motown, Northern Soul & American Soul generally from the sixties, DO NOT waste your money on this CD Set. It's all Jamaican Reggae, funk & jazz. Very misleading and disappointing! DON'T BUY IT! No Points!'

'With Duke Reid’s Treasure Isle catalogue having been mercilessly plundered over the past few decades, you would be forgiven for thinking that precious little of the legendary producer’s work currently remains unavailable. This sensational collection of long-lost rock steady, proto reggae and soul tracks from 1968 demonstrates otherwise. The first dozen tracks are lifted directly from a recently discovered Trojan Records tape of a previously unissued compilation album, “Soul Power”, while the remainder of the material is in a similar vein, culminating in a fascinating and hugely entertaining 42 track collection of hits, rarities and previously unissued tracks. A sensational stand-alone compilation, while also perfectly complementing currently available Treasure Isle collections released by both Doctor Bird and Trojan, “Soul Power ’68” demonstrates that with a bit of digging, precious gems can still be found!'

A previously unreleased album that will appeal to ska lovers everywhere has finally seen the light of day…

'This 42-track double album contains rare rock and reggae gems and is being released through Treasure Isle Records — and what a treasure it is! This compilation contains singles and other popular songs from labels like Doctor Bird, Trojan, and Duke Reid’s own label… so you know that the Melodians are well-represented here!

Three of the tracks have never been previously released in any format, so get excited! Joya Landis’s “Let Me Know“ and Tommy McCook & the Supersonics’ “Angel of the Morning” and “My Best Girl (Rhythm)” will please even the pickiest fans.

Soul Power ‘68 leaves the ska soul soothed with a peripheral mix of instrumentals and long-forgotten reggae classics from the heart of Jamaica in the 60’s. What’s not to love?' -Ian Woolley

A delightful compilation of Duke Reid productions that mixes classic rocksteady tunes with soul tracks.

In Jamaica, a whole generation of singers, players of instruments, and MCs had grown up in thrall to the sounds of 1960s black America. In the 1950s, Jamaican music in the dance halls had evolved by adapting shuffle-based r&b and boogie-woogie. The link continued in the early 1960s with singers and vocal groups, who participated in local contests, singing material that was drawn from the catalogues of US artists such as The Drifters, Clyde McPhatter, and the ever-present Impressions. When soul replaced r&b in the affection of black American listeners, so rocksteady and later reggae developed as Jamaican popular music kept pace with innovations in the US.

Through the 1960s, as US soul began increasingly to reflect the social concerns and political aspirations of the black working class, the same phenomenon began to register in Jamaican music. By the end of the 1960s, Jamaica could boast the presence of several singers who equaled in emotional intensity their US contemporaries, among them singers like Ken Boothe, Alton Ellis, John Holt, Slim Smith, Pat Kelly, and Delroy Wilson as well as vocal groups such as The Sensations, The Uniques, The Melodians, The Silvertones, and The Techniques.

After serving some ten years in Kingston’s police constabulary, Arthur ‘Duke’ Reid and his wife Dorothy opened the Treasure Isle liquor store. He made his way into the music industry first as a sound system owner, promoter, and disc jockey in 1953. He began producing recordings in the late 1950s, first in studios owned by others and then in his own studio above the store. Together with producers like Coxsone Dodd, Prince Buster, and Leslie Kong, Duke Reid dominated the Jamaican music scene of the 1960s, specialising in ska and rocksteady. The material that he issued on his Treasure Isle label exemplified the cool and elegant feel of the rocksteady era. At his heydays, the producer employed then popular artists such as Alton Ellis, Phyllis Dillon, Dobby Dobson, Hopeton Lewis, and a roll call of outstanding vocal groups like for example The Paragons, The Techniques, The Jamaicans, The Silvertones, and The Melodians, who were backed by Duke Reid’s in-house studio band Tommy McCook and the Supersonics.

Over the past few decades, the Treasure Isle catalogue has been mercilessly plundered. Countless classic recordings put out on Duke Reid’s much-celebrated record label have been reissued, artist albums as well as compilation sets, so one might think that all Duke Reid produced material featured on this Soul Power ’68 set has already been released before. However, that ain’t the case! The first dozen tracks are lifted directly from a recently discovered Trojan Records tape of a previously unreleased compilation album, Soul Power, while the remainder of the material consists of hits, rarities, previously unissued tunes, and tracks new to cd.

As already pointed out, US soul artists and their songs strongly inspired many Jamaican artists, and thus seeing interpretations of soul tunes in the rocksteady era wasn’t really surprising. The tracks featured on Soul Power ’68 can be ranked amongst the best works from the legacy of Duke Reid. It’s a delight and pure fun to listen to this splendid collection of tunes with mostly the superb Tommy McCook and the Supersonics providing backdrops that still caress the eardrums more than 50 years after they were recorded at 33 Bond Street in Kingston, Jamaica. And it’s really good that this set includes no less than 10 instrumentals by this band plus two with Winston Wright and Ernest Ranglin respectively, which could have made up a worthwhile album of their own. Also, well-represented is Joya Landis (US-born Wanda Jean Vann) with 7 tracks in the soul vein. During her three-month stay in Jamaica, she recorded a run of classics for Duke Reid. A number of tunes featured here were never released in the UK, and in the case of the rocksteady version of Let Me Know it’s known that it has never been released anywhere. Besides highly enjoyable tunes by vocalists such as Hopeton Lewis, Lloyd Tyrell aka Lloyd Charmers, and Phyllis Dillon, the listener is also entertained by goodies from vocal groups like The Silvertones, The Sensations, The Paragons, and The Termites. In all, this is a wonderful trip down memory lane for the older reggae fan. -by Mr.T at Reggae Vibes

"Duke Reid - The Trojan King of Sounds"

Soul Power ’68 is a genuine time capsule packed with 42 gems from Rocksteady’s Golden Year of ’68.

'The folks at Cherry Red have done it again! Soul Power ’68 is a collection of 42 absolute gems from the studio of Arthur “Duke” Reid at 33 Bond Street, Kingston, Jamaica, many of which appear for the first time on CD, for the first time in the UK, and, in a couple of cases, for the first time anywhere.

The inspiration for this collection came about when a Treasure Isle Records tape of an unissued compilation was discovered.  The compilation had been allocated the Soul Power ’68 title. It comprised twelve tracks, all of which had previously been released as Treasure Isle singles during 1968. The tape had been mastered but, for reasons that will probably never be known, was never released.  Until now, that is…. The first twelve tracks on this excellent new collection are those that were allocated space on the rediscovered tape, and the remainder of the collection are songs from Treasure Isle that also came about during 1968.

Why 1968? I hear you ask…  Well, to answer that question, it’s probably worth giving a brief background to “Duke” Reid and his various musical enterprises. Former policeman Reid was the proprietor of the Treasure Isle liquor store in Kingston. As a means of attracting customers to his store, he arranged a sponsorship deal to start his own radio show, Treasure Isle Time, on which he would play R&B hits from the US, interspersed with adverts for his liquor store wares. His involvement with music developed further when acquired a Sound System which he would transport to local dances at which he would also sell his liquor products. 

The sound system was such a success that, in 1958, he founded a recording studio, Treasure Isle Recording which was located above his store at 33 Bond Street. By the early 1960s, Reid was the dominant figure on the Jamaican music scene, the owner of numerous record labels (including Trojan, Duke Reid’s, Dutchess and Treasure Isle) and the architect behind lucrative UK licensing deals, including the UK Trojan Records deal with Chris Blackwell and Lee Gopthal from Island Records. Reid’s preferred musical styles were primarily jazz and blues but, as the 60’s progressed, his studio became best known for producing Ska hits for the likes of Justin Hinds and the Dominoes and The Skatalites and, as 1968 dawned, it earned a reputation as the home of Rocksteady.

The title, Soul Power ’68, is something of a misnomer. The tracks on this album are, with a few marginal exceptions, prime Rocksteady cuts, from the year when the genre was at its peak, just before it morphed into the faster, shuffling groove that had yet to be designated as Reggay.

And there’s some splendid stuff on here. Kicking off with The Silvertones’ version of Wilson Pickett’s In The Midnight Hour, the album is a refreshing delight from start to finish. The production standard is excellent throughout and every song sounds fresh and fun. Treasure Isle house band, Tommy McCook And The Supersonics provide the backing to most of the vocal tracks, and they’re spot-on. Whilst nearly every track has been previously released as a Jamaican 45 RPM single (either an “A” or a “B” side) over half the tracks have never before been issued in the UK, so there’s plenty here to excite the dedicated collector, including a couple of marvelous tunes from the enigmatic Joya Landis, and songs from Hopeton Lewis, The Paragons, Winston Wright and The Gladiators. 

Jamaican music would, of course, achieve mainstream success in the UK during 1969, once Desmond Dekker had exposed the record-buying public to reggae with his patois-drenched Israelites. The uninitiated will certainly marvel at the levels of maturity and even sophistication already being achieved and which are showcased by this collection. Sadly, 1968 was to represent something of a peak in the career of Duke Reid. By the early 1970s, the preferred taste in Jamaican music had moved on to roots reggae, a genre that Reid disliked hugely, and Reid was also starting to suffer health problems. He died from cancer on new year’s day, 1975, leaving a rich legacy that has already been extensively plundered and repackaged over the years. Soul Power ’68 is a veritable trove of Treasure Isle goodies that have somehow slipped under the radar, and are presented here in a sympathetic, informative, and most importantly, highly enjoyable package.

Make no mistake – this is a wonderful compilation, packed with great tunes and a true time capsule of a period when reggae was about to burst into life but hadn’t yet lost its innocence. Highly recommended.' -John Barlass

Undiscovered Caribbean musical treasure chests are worth finding and prizing open, writes Paul Matts.

“Soul Power ’68 is most definitely not a soul record. But it does have plenty of soul influence – the fusion of rock steady, early reggae nuance and American soul is present throughout, and it is a refreshing feature of vintage Jamaican sounds that versions of proper ‘A-List’ tunes are favourably comparable to the originals despite the radically different styling. The role of the producer is crucial – and Duke Reid is spot on here.”

One of the real pioneers of Jamaican popular music, Arthur ‘Duke’ Reid, has had his Treasure Isle back catalogue plundered continually since his life was cut tragically short in 1976. Incredibly, a dozen tracks, mixed, mastered but without full album issue have been discovered. Named Soul Power, the project seemed shelved with no prospect of seeing the light of day.

Such is the bountiful nature of Reid’s back catalogue it would be natural to assume the good stuff is already out there. But this unreleased material contains intriguing gems, and forms the basis of Soul Power ’68, a double disc collection from Doctor Bird.

Soul Power ’68 is most definitely not a soul record. Nor is it early seventies ‘Island Soul’ in the vein of The Chosen Few. But it does have plenty of soul influence – particularly in the American Stax style. The fusion of rock steady, early reggae nuance and American soul is present immediately, in the brash opening chord sequence of In The Midnight Hour. You cannot get much more soulful than this Wilson Pickett classic, and The Silvertones – best known for their work at the Black Ark with Lee Perry – do a classy rock steady do-over to get proceedings going.

It is a refreshing feature of vintage Jamaican sounds that versions of proper ‘A-List’ tunes are favourably comparable to the originals despite the radically different styling. The role of the producer is crucial – and Duke Reid is spot on here. The Silvertones contribute another premier slice of rock steady among disc one’s bonus cuts, Slow And Easy.

Lloyd Williams showcases more soul touches. The counting ‘one, two, three, four …’ vocals are typical of the Stax sound and contribute to a lively and energetic performance on Funky Beat. Williams reappears on side two of the original, unreleased, album with Goodbye Baby – the most out and out Stax-style offering on the disc.

The cool, spoken delivery of Radcliff Butler’s Soul Power aka My Last Word pre-dates soul monster Isaac Hayes’s Theme From Shaft by three years. It is also an early example of the DJ sound, over a backing track somewhere between rock steady and reggae. Indeed, some have even claimed My Last Word to be the first ‘reggae’ number, ahead of Toots’s Do The Reggay and various others. Very innovative any which way.

Tommy McCook and the Supersonics are heavily featured here, including the Ring Of Fire-inspired Music Is My Occupation and the belting Work Your Soul. There are also two instrumental cuts by McCook and co., the pumping and grandiose Venus, and Black Power, featuring the one and only Winston Wright. The latter is a significant track for 1968, a key year in the USA Civil Rights and Black Power movements. It also closes the original vinyl issue and, by revisiting In The Midnight Hour, neatly bookends the long player.

Rock steady vocal harmony quartet The Conquerors contribute the delicious Lonely Street – a beautifully sombre touch of RS. I Fell In Love repeats the formula in a snappier manner, with more soulful articulation of heartfelt lyrics from one of the era’s best rock steady acts. Another soulful vocal harmony combo, The Melodians – of Rivers Of Babylon fame – open side two with Come On Little Girl. Slightly more up-tempo and chirpy.

The first disc’s bonus cuts start with Lloyd Tyrell’s Keep On Going. An earthy slice of rock steady, and The Yardbrooms’ If You See Jane has a nice, light skip to it with woodwind adding to the backing effectively. The Gladiators contribute one of their early recordings, Live Wire. Sadly, founder member Albert Griffiths passed away in December 2020. A true hero of Jamaican music. Live Wire gives us a definite glimpse of the potential the band were to fulfil, with tremendous edge performed with gusto and fabulous voices, natch.

There are two further cuts from McCook and crew among disc one’s bonus tracks, Uncle Sam and My Best Girl and one-third of disc two is credited to Tommy McCook and the Supersonics. Their rhythm version of Joya Landis’s Angel Of The Morning closes the collection.

Rock steady singer, and television personality Hopeton Lewis, has four tracks across both discs, including a take on McCook and the Supersonics’ Black Power. The ‘Midnight Hour’ influences are marginally less conspicuous this time! Live It Up shares a backing with Junior Byles’ wonderful A Place Called Africa – a typical example of Jamaican music’s care and share tactics! Lewis’ She’s Gone is a great track and is by and large an undiscovered gem, and the brief and bouncy There She Goes completes his appearances here.

Two tracks on disc one come from Joya Landis, a name known to reggae collectors – I Love You True aka So True and Let Me Know (Soul Version). Joya has a further five numbers on the second disc (including her version of The Tennors’ Ride Your Donkey, issued here for the first time) which means she has a sixth of this collection donated to her. Doctor Bird are shedding light on this woman, for sure.

Discovered in America by the Duke in the late sixties, Joya released just one single before Reid persuaded here to come to Jamaica and issue virtually all her subsequent output with Treasure Isle. After her short run of recordings with Duke she returned to the USA and never set foot in a recording studio again. She remained in apparently deliberate obscurity right up until her death a few years ago.

Duo Clive and Doreen give us the easy listening What More Can I Do, which was backed with the afore-mentioned Black Power.

The Sensations’ Baby Love is arguably the collection’s highlight, featuring some creative harmonies. A wonderfully seductive, warm piece of rock steady, with the voices conveying the feeling behind the lyric naturally. They also contribute disc two’s penultimate track, Darling Please Forgive Me.

Another high point is The Paragons’ Joy In My Soul, a lively rock steady gem with guitar up-front in the mix and an earthy vocal, proving that there is so much more to their repertoire than The Tide Is High. Joy In My Soul. Similarly, The Melodians’ Joy In My Soul bustles along nicely, a darker number with spooky-style organ by Winston Wright. An honourable mention is deserved for the fantastic Phyllis Dillon with Humpty Dumpty. A powerful Stax-inspired soul stomper. And yes, it recites the nursery rhyme!

Why the hell not?

When DJ reggae surfaced, Arthur introduced the public to U-Roy. Of course, the man originally named Ewart Beckford has tragically recently been taken from us and many, including this writer, will feel his loss for some time. However, the impact Arthur made in championing U-Roy’s toasting, will be celebrated long and hard for eternity thanks to the number of cuts released on Treasure Isle. The hits kept coming for Duke’s Treasure Isle roster, but as the ‘70s unfolded the man became disenchanted with music, culminating in selling his entire back catalogue to Sonia Pottinger in 1974, just prior to his death in 1976. His body was left in state at Black Rock and much later, in 2017, he was posthumously given an ‘Order of Distinction for his contribution to Jamaican Music’ – “Few have been more worthy of the honour,” said reggae historian  Laurence Cane-Honeysett.

It is a good thing treasure-hunters discovered Soul Power ’68. Many lost tracks have surfaced, and Doctor Bird have jumped at the opportunity to bolster things with dusted down beauties by The Sensations, Joya Landis and The Gladiators, among others. It is a great example of a more definite US influence on the Jamaican sound, and the breadth of the work of Duke Reid. Hallelujah.

Album review by Ian Canty

Two CD set of some of Duke Reid’s rarer productions from 1968, built around the unissued Soul Power ’68 compilation album that features Joy Landis, Tommy McCook and Hopeton Lewis among many others. Eighteen of the tracks included are new to CD and three are previously unreleased in any form. Ian Canty goes prospecting for Treasure Isle’s buried treasure…

'By 1968, Duke Reid was firmly established as one of the big two in Jamaican music circles, along with his long time rival Clement “Coxsone” Dodd. He had possibly had the edge on Dodd in the rocksteady era, after a closely fought battle during the ska craze. The ex-policeman was an imposing figure rarely seen without a firearm on his person, but even so, singers and players flocked to his Treasure Isle studio that cranked out hit after hit, knowing that their tunes would be given quality attention. Alton Ellis and Justin Hinds And The Dominoes were just two of the many artists that enjoyed a flush of success with Reid at the helm.

Change was in the air though and this collection reflects that, in the main made up of late in the day rocksteady melodies, but also having a few proto-reggae groovers. Some of Duke’s biggest stars are not represented here – which is not to demean artists of the stature of Tommy McCook and The Melodians, but there’s No Alton, The Techniques or Justin for example, all of whom were a large part of Reid’s star-studded roster. The Treasure Isle archive has been extensively mined by compilers over the past 20 or so years, so it is nice to have a good few not so well-known offerings and artists included here.

As might be suspected from the title of this set, soul music features strongly. The Duke himself was a long term r&b fan, with the US imports in that style that he played on his sound system crucial to getting his start in music in the 1950s. At Treasure Isle, he continued to favour artists with soul leanings, culminating in his peerless run of rocksteady successes. Soul Power ’68 makes Reid’s preferences overt, mixing pure soul offerings and rocksteady tunes.

The Soul Power ’68 album itself went unreleased at the time and was only recently located in the depths of the Trojan Records archive. It kicks off in suitable enough fashion with The Silvertones applying reggae touches to a well-sung version of In The Midnight Hour, a song made famous by Wilson Pickett. The decidedly plummy voice of DJ Radcliff Butler makes Soul Power aka My Last Word different and novel and Tommy McCook And The Supersonics’ Music Is My Occupation uses Johnny Cash’s Ring Of Fire as the jumping-off point for some of his trademark fine sax. A brassy Lloyd Williams’ Funky Beat is a good example of an early toast, with spoken and singing styles combining over an r&b guitar line. What results is a very cool mixture of soul and reggae.

The Melodians provide a classic example of the rocksteady format in Come On Little Girl and it is preceded by its smart b side Work Your Soul, The Supersonics jumping near instrumental which highlights the horn section. I Fell In Love by vocal group The Conquerers is a totally charming love song and the album finishes with a super instrumental take of In The Midnight Hour, here under the name Black Power and credited to organ maestro Winston Wright And The Supersonics. Soul Power ’68 would have made a fine release at the time. The reason why it was not issued back then will remain a mystery. Maybe it was felt the soul/reggae balance might confuse new UK fans?

The LP is fleshed out on the first disc of this set with nine contemporary Duke Reid productions, plus a bonus disc with 21 further tracks from around the same time. Lloyd Charmers, under the pseudonym Lloyd Tyrell, provides a lovely bit of rocksteady in Keep Me Going and The Gladiators, who would go on to have great success as the 1970s went on, give us an early indication of their abundant potential on Live Wire.

Joya Landis, actually an American born Wanda Jean Vann, features seven times amongst the bonus tunes. All are very much in a soul vein and all a delight. On I Love You True (or So True) she gives us a truly touching vocal performance and When The Lights Are Low is an absolute beauty. She had a brief but successful recording career, scoring with versions of Kansas City and Moonlight Lover, but, after a handful of singles over a three year period between 1967 and 1970, she seems never to have recorded again. Something that is a great shame, given the evidence provided here.

The Silvertones return with Slow And Easy, where their singing talents skilfully offset against a deep trombone part. The excellent Baby Love by The Sensations opens up disc two of this set with a perfectly judged masterwork of rocksteady. It’s a pretty difficult task to follow that wonderful tune, but The Melodians’ lively Let’s Join Hands Together doesn’t go far wrong. That this collection is full to brimming with top quality vocal groups is rammed home by the inclusion of John Holt’s band The Paragons’ with the brilliantly arranged Joy In My Soul, which unbelievably went unissued at the time.

Hopeton Lewis combines the DJ style and singing well on Black Power (take 2) and provides an early sighting of the Ali Baba rhythm on his Live It Up. Phyllis Dillon’s Humpty Dumpty is a soul smasher and features Hopeton on co-vocals, their contributions making for a very exciting piece of music indeed. The compilers drew a blank in identifying both The Yardbrooms and Joey And His Group (though they hint that the latter may be linked to The Melodians), even so, the stately pace of If You See Jane and the sleepy but warm Soul Love enchant.

All things considered, Soul Power ’68 is another satisfying delve into the Treasure Isle archive. By eschewing the dog-eared (but admittedly still great) songs that have been regularly reissued over the past 20 years, it brings to light many hidden jewels that have languished in the Treasure Isle archive. The step away from pure rocksteady towards soul and r&b gives the set an extra dimension that other compilations simply don’t have and you could always rely on Duke Reid to get it spot on in the Treasure Isle studio environment. With detailed and interesting sleeve notes, Soul Power ’68 is perfect for exploring by the more adventurous reggae fan.'

1-1 The Silvertones - In the Midnight Hour 2:42
1-2 Radcliffe Butler - Soul Power (My Last Word) 2:24
1-3 Tommy McCook & The Supersonics - Music Is My Occupation 3:35
1-4 Lloyd Williams - Funky Beat 2:43
1-5 The Conquerors - Lonely Street 2:19
1-6 Tommy McCook & The Supersonics - Work Your Soul 2:58
1-7 The Melodians - Come On Little Girl 2:23
1-8 Clive & Doreen - What More Can I Do 2:52
1-9 Tommy McCook & The Supersonics - Venus 2:27
1-10 The Conquerors - I Fell in Love 2:17
1-11 Lloyd Williams - Good Bye Baby 2:55
1-12 Winston Wright - Black Power 2:43
Bonus Tracks
1-13 Lloyd Tyrell - Keep On Going 2:49
1-14 Joya Landis - I Love You True (So True) 3:20
1-15 The Yardbrooms - If You See Jane 2:25
1-16 Tommy McCook & The Supersonics - Uncle Sam 2:51
1-17 The Gladiators - Live Wire (Take One) 2:11
1-18 Hopeton Lewis - She's Gone 3:25
1-19 Joya Landis - (If You Really Love Me) Let Me Know (Soul Version) 2:32
1-20 The Silvertones - Slow and Easy 2:28
1-21 Tommy McCook & The Supersonics - My Best Girl (Rhythm) (with Winston Wright) 2:38

2-1 The Sensations - Baby Love 2:53
2-2 The Melodians - Let's Join Hands Together 2:46
2-3 The Paragons - Joy In My Soul 2:28
2-4 Joya Landis - When The Lights Are Low 3:00
2-5 Tommy McCook & The Supersonics - Bang Belly 2:29
2-6 Joey & His Group - Soul Love 2:34
2-7 Joya Landis - Ride Me Donkey 2:06
2-8 Tommy McCook & The Supersonics - Rocking Soul 2:22
2-9 Hopeton Lewis with Tommy McCook & The Supersonics - Black Power (Take 2) 2:39
2-10 Joya Landis - Love Me All The Time 2:49
2-11 Tommy McCook & The Supersonics - Soul Style 2:33
2-12 Hopeton Lewis - Live It Up 2:59
2-13 Joya Landis - Let Me Know (Rock Steady Version) 2:51
2-14 Phyllis Dillon - Humpty Dumpty 2:29
2-15 Tommy McCook & The Supersonics - Oily Oily 2:36
2-16 Joya Landis - Your Love Is All Over Me 2:23
2-17 The Termites - Breaking Up 3:09
2-18 Ernest Ranglin & The Supersonics - Merry Mood Aka Ranglin On Bond Street 2:49
2-19 Hopeton Lewis - There She Goes 1:47
2-20 The Sensations - Darling Forgive Me 2:27
2-21 Tommy McCook & The Supersonics - Angel Of The Morning (Rhythm) (Take 5) 3:12